1980s Landscape Paintings

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. This masterfully conceived composition belongs to a pivotal and highly sig...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Primeval Landscape, was executed in 1985. The masterfully conceived composition belongs to a pivotal and highly sign...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Childhood of Hephaestus, Variation #5, was executed in 1985. The masterfully conceived composition belongs to Hornak...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Transparent Barricades: Sunrise and Moonrise, was executed in 1985. The masterfully conceived composition exemplifies Hornak’s celebrated series of multiple-exposure landscape paintings, a body of work that transformed conventional landscape imagery into complex meditations on memory, perception, and the passage of time. Through the seamless fusion of distinct moments within a single visual field, Hornak creates a dreamlike yet convincing reality in which sunrise and moonrise coexist simultaneously, dissolving traditional boundaries between day and night, observation and recollection. The silhouetted tree forms, luminous celestial light, and brilliantly layered sky are rendered with extraordinary precision, producing an image that is at once visually breathtaking and intellectually engaging. By combining photographic realism with poetic invention, Hornak invites viewers to contemplate the fluid nature of time and experience, presenting multiple realities within a unified composition. Executed during a pivotal period in the artist’s career, the painting demonstrates Hornak’s remarkable ability to synthesize technical mastery, environmental observation, and metaphysical inquiry into a singular and unforgettable vision of the natural world. Executed in acrylic on canvas, this work measures 30 x 40 inches (76.2 x 101.6 cm). Signed by the artist. Artwork Details: Artist: Ian Hornak (1944–2002) Title: Transparent Barricades: Sunrise and Moonrise Medium: Acrylic on canvas Dimensions: 30 x 40 inches (76.2 x 101.6 cm) Inscription: Signed by the artist Date: 1985 Condition: Well preserved, consistent with age and medium Provenance: Armstrong Gallery, New York, New York About the Artist: Ian Hornak (1944–2002) was an American painter, draughtsman, printmaker, and pioneering force in Photorealism and Hyperrealism whose extraordinary technical mastery, visionary imagination, and innovative approach to realism established him as one of the most distinctive and original artists of the late twentieth century. Widely recognized as a founding member of both the Photorealist and Hyperrealist movements, Hornak helped redefine the possibilities of contemporary realism by combining photographic precision with symbolism, romanticism, mythology, environmental awareness, art historical references, and metaphysical inquiry, creating a body of work that stands apart within postwar American art for both its visual brilliance and intellectual ambition. Born in Philadelphia and raised in Michigan before establishing his career in New York and East Hampton, Hornak emerged during one of the most transformative periods in modern art and developed a highly individual visual language that transcended conventional artistic categories. While many of his contemporaries focused on strict photographic transcription, urban imagery, or detached observation, Hornak utilized realism as a foundation for exploring profound themes of memory, beauty, mortality, spirituality, environmental fragility, and humanity’s relationship with nature, producing works that operate simultaneously as visual spectacles and philosophical meditations. His artistic vision reflects an awareness of the revolutionary innovations introduced by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, while simultaneously drawing inspiration from the Hudson River School, particularly Frederic Edwin Church, Martin Johnson Heade, Thomas Cole, and Albert Bierstadt, as well as the spiritual landscapes of Caspar David Friedrich and the botanical precision of Dutch Golden Age masters such as Jan van Huysum and Rachel Ruysch. Through this extraordinary synthesis of influences, Hornak created a visual language that united scientific observation, photographic realism, romantic grandeur, allegorical symbolism, and philosophical reflection into a form entirely his own. During the late 1960s and early 1970s, Hornak emerged as one of the earliest artists associated with the newly developing Photorealist movement, producing panoramic landscapes of astonishing complexity and technical sophistication that challenged prevailing assumptions regarding realism and representation. These groundbreaking paintings incorporated the visual effects of multiple-exposure photography, allowing Hornak to present numerous viewpoints, shifting perspectives, and compressed moments in time within a single composition, years before such approaches became commonplace in contemporary art. He was also among the first contemporary artists to extend pictorial imagery beyond the edges of the canvas and onto elaborately painted frames, dissolving the boundary between artwork and object and anticipating later developments in installation art and expanded-field painting. These innovations earned widespread critical acclaim and positioned Hornak alongside major contemporaries such as Chuck Close, Richard Estes, Audrey Flack, Ralph Goings, Robert Bechtle, Malcolm Morley, Richard McLean, and Don Eddy, yet his work remained distinguished by its emotional resonance, romantic sensibility, and deep engagement with both art history and the natural world. As his career evolved, Hornak increasingly moved beyond the concerns of mainstream Photorealism and developed a more personal and ambitious artistic vision, culminating in the monumental botanical, allegorical, and symbolic masterpieces of the 1980s and 1990s that many scholars regard as the pinnacle of his achievement. These extraordinary paintings combined hyperreal floral imagery, celestial phenomena, rare minerals, birds, insects, architectural motifs, mythological references, and complex still-life arrangements into dazzling visual orchestrations that reward prolonged viewing and intellectual engagement. Major works such as Raphael’s Stairway, Echo Loses Narcissus, Hannah’s Mirror, Very Baroque Flowerpiece, and the celebrated Last Song series transformed traditional genres into contemporary meditations on beauty, mortality, history, science, religion, art history, and the cosmos. Unlike many photorealists whose work remained rooted primarily in observation, Hornak elevated realism into a vehicle for symbolic and philosophical exploration, creating paintings that function simultaneously as technical masterpieces, visual narratives, intellectual puzzles, and poetic reflections on existence itself. Throughout his career, Hornak was represented by influential galleries including Tibor de Nagy Gallery, Fischbach Gallery, and Katharina Rich Perlow Gallery, exhibiting extensively in New York and internationally. His work received praise from leading critics and publications, including The New York Times, which described him as being “right at the top of romantically descriptive painters today.” His paintings entered important private, corporate, and institutional collections, and his reputation has continued to grow through significant posthumous exhibitions at institutions including the Forest Lawn Museum, the Board of Governors of the Federal Reserve System in Washington, D.C., the Washington County Museum of Fine Arts, the Anton Art Center, and the Moss-Thorns Gallery of Art. Hornak’s influence extends far beyond Photorealism into later generations of realist, hyperrealist, symbolic, environmental, and representational painters who continue to explore the intersection of photography, illusion, narrative, environmental awareness, and metaphysical content. Today, his paintings, drawings, and prints remain highly sought after by collectors who recognize their rarity, beauty, technical excellence, and historical importance, while his personal papers are preserved in the Smithsonian Institution’s Archives of American Art, affirming his place within the broader narrative of twentieth-century American art. As international interest in museum-quality realism continues to expand and collectors increasingly seek historically significant artists whose scholarly importance exceeds their current market valuations, Hornak’s work has attracted growing attention for its originality, ambition, and uniqueness within American art. His highest recorded sale was achieved in 2017, when Large Orchid Bouquet (1988) was sold in a private transaction conducted in association with the heir of the Ian Hornak estate to the Van Andel family, co-owners of Amway, for US$165,000 ($219,168.11 USD, calculated for inflation in 2025), underscoring the growing recognition of an artist whose significance within the history of American realism continues to expand. Ian Hornak Transparent Barricades: Sunrise and Moonrise, Ian Hornak multiple exposure landscape, Ian Hornak acrylic on canvas, Ian Hornak 1985 painting, Ian Hornak sunrise landscape, Ian Hornak moonrise painting...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Marcia’s Meadow, Vermont, Variation #2, was executed in 1984. The masterfully conceived composition exemplifies Horn...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Martin Heade’s Window, was executed in 1980. The masterfully conceived composition exemplifies Hornak’s celebrated s...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Ghosts at Dawn, was executed in 1985. The monumental and visionary composition represents one of the most ambitious ...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Scarlet and Blue Macaw, was executed in 1985–1986. The masterfully conceived composition exemplifies Hornak’s mature synthesis of Hyperrealism, symbolism, illusionism, and art historical reference, presenting a brilliantly rendered scarlet and blue macaw within a meticulously constructed visual environment of extraordinary complexity and sophistication. The dazzling plumage, dramatic architectural enclosure, tropical vegetation, and luminous artist-painted frame are depicted with astonishing clarity and chromatic intensity, transforming a traditional avian subject into a meditation on beauty, captivity, freedom, perception, and the relationship between the natural and constructed worlds. Through his remarkable command of light, texture, color, and spatial illusion, Hornak elevates the bird portrait into a philosophical exploration of observation and existence, demonstrating the intellectual ambition and technical virtuosity that distinguish his finest works. Executed during one of the most celebrated periods of his career, the painting reflects Hornak’s unique ability to unite photographic realism, symbolic meaning, decorative splendor, and painterly refinement within a single, visually sublime composition. The artist-painted frame functions as an integral extension of the imagery, dissolving the boundary between painting and object while reinforcing the immersive and metaphysical qualities of the work. Executed in acrylic on panel with artist’s painted frame, this work measures 58.5 x 42.5 inches (148.59 x 107.95 cm). Signed and dated by the artist. Artwork Details: Artist: Ian Hornak (1944–2002) Title: Scarlet and Blue Macaw Medium: Acrylic on panel with artist’s painted frame Dimensions: 58.5 x 42.5 inches (148.59 x 107.95 cm) Inscription: Signed, dated by the artist Date: 1985–1986 Condition: Well preserved, consistent with age and medium Provenance: Katharina Rich Perlow Gallery, New York, New York; Estate of Ian Hornak, East Hampton, New York About the Artist: Ian Hornak (1944–2002) was an American painter, draughtsman, printmaker, and pioneering force in Photorealism and Hyperrealism whose extraordinary technical mastery, visionary imagination, and innovative approach to realism established him as one of the most distinctive and original artists of the late twentieth century. Widely recognized as a founding member of both the Photorealist and Hyperrealist movements, Hornak helped redefine the possibilities of contemporary realism by combining photographic precision with symbolism, romanticism, mythology, environmental awareness, art historical references, and metaphysical inquiry, creating a body of work that stands apart within postwar American art for both its visual brilliance and intellectual ambition. Born in Philadelphia and raised in Michigan before establishing his career in New York and East Hampton, Hornak emerged during one of the most transformative periods in modern art and developed a highly individual visual language that transcended conventional artistic categories. While many of his contemporaries focused on strict photographic transcription, urban imagery, or detached observation, Hornak utilized realism as a foundation for exploring profound themes of memory, beauty, mortality, spirituality, environmental fragility, and humanity’s relationship with nature, producing works that operate simultaneously as visual spectacles and philosophical meditations. His artistic vision reflects an awareness of the revolutionary innovations introduced by Pablo Picasso, Alexander Calder, Alberto Giacometti, Salvador Dali, Joan Miro, Wassily Kandinsky, Marcel Duchamp, and Man Ray, while simultaneously drawing inspiration from the Hudson River School, particularly Frederic Edwin Church, Martin Johnson Heade, Thomas Cole, and Albert Bierstadt, as well as the spiritual landscapes of Caspar David Friedrich and the botanical precision of Dutch Golden Age masters such as Jan van Huysum and Rachel Ruysch. Through this extraordinary synthesis of influences, Hornak created a visual language that united scientific observation, photographic realism, romantic grandeur, allegorical symbolism, and philosophical reflection into a form entirely his own. During the late 1960s and early 1970s, Hornak emerged as one of the earliest artists associated with the newly developing Photorealist movement, producing panoramic landscapes of astonishing complexity and technical sophistication that challenged prevailing assumptions regarding realism and representation. These groundbreaking paintings incorporated the visual effects of multiple-exposure photography, allowing Hornak to present numerous viewpoints, shifting perspectives, and compressed moments in time within a single composition, years before such approaches became commonplace in contemporary art. He was also among the first contemporary artists to extend pictorial imagery beyond the edges of the canvas and onto elaborately painted frames, dissolving the boundary between artwork and object and anticipating later developments in installation art and expanded-field painting. These innovations earned widespread critical acclaim and positioned Hornak alongside major contemporaries such as Chuck Close, Richard Estes, Audrey Flack, Ralph Goings, Robert Bechtle, Malcolm Morley, Richard McLean, and Don Eddy, yet his work remained distinguished by its emotional resonance, romantic sensibility, and deep engagement with both art history and the natural world. As his career evolved, Hornak increasingly moved beyond the concerns of mainstream Photorealism and developed a more personal and ambitious artistic vision, culminating in the monumental botanical, allegorical, and symbolic masterpieces of the 1980s and 1990s that many scholars regard as the pinnacle of his achievement. These extraordinary paintings combined hyperreal floral imagery, celestial phenomena, rare minerals, birds, insects, architectural motifs, mythological references, and complex still-life arrangements into dazzling visual orchestrations that reward prolonged viewing and intellectual engagement. Major works such as Raphael’s Stairway, Echo Loses Narcissus, Hannah’s Mirror, Very Baroque Flowerpiece, and the celebrated Last Song series transformed traditional genres into contemporary meditations on beauty, mortality, history, science, religion, art history, and the cosmos. Unlike many photorealists whose work remained rooted primarily in observation, Hornak elevated realism into a vehicle for symbolic and philosophical exploration, creating paintings that function simultaneously as technical masterpieces, visual narratives, intellectual puzzles, and poetic reflections on existence itself. Throughout his career, Hornak was represented by influential galleries including Tibor de Nagy Gallery, Fischbach Gallery, and Katharina Rich Perlow Gallery, exhibiting extensively in New York and internationally. His work received praise from leading critics and publications, including The New York Times, which described him as being “right at the top of romantically descriptive painters today.” His paintings entered important private, corporate, and institutional collections, and his reputation has continued to grow through significant posthumous exhibitions at institutions including the Forest Lawn Museum, the Board of Governors of the Federal Reserve System in Washington, D.C., the Washington County Museum of Fine Arts, the Anton Art Center, and the Moss-Thorns Gallery of Art. Hornak’s influence extends far beyond Photorealism into later generations of realist, hyperrealist, symbolic, environmental, and representational painters who continue to explore the intersection of photography, illusion, narrative, environmental awareness, and metaphysical content. Today, his paintings, drawings, and prints remain highly sought after by collectors who recognize their rarity, beauty, technical excellence, and historical importance, while his personal papers are preserved in the Smithsonian Institution’s Archives of American Art, affirming his place within the broader narrative of twentieth-century American art. As international interest in museum-quality realism continues to expand and collectors increasingly seek historically significant artists whose scholarly importance exceeds their current market valuations, Hornak’s work has attracted growing attention for its originality, ambition, and uniqueness within American art. His highest recorded sale was achieved in 2017, when Large Orchid Bouquet (1988) was sold in a private transaction conducted in association with the heir of the Ian Hornak estate to the Van Andel family, co-owners of Amway, for US$165,000 ($219,168.11 USD, calculated for inflation in 2025), underscoring the growing recognition of an artist whose significance within the history of American realism continues to expand. Ian Hornak Scarlet and Blue Macaw, Ian Hornak macaw painting...

This exquisite acrylic painting by Ian Hornak (1944–2002), titled Cockatoo, was executed in 1985. The masterfully conceived composition exemplifies Hornak’s mature synthesis of Hyper...

Mervyn Goode, born 1948. Studied Gloucestershire College of Art and never looked back after his first sell-out one-man exhibition in London in 1970. His work is regularly reproduced....

Joseph Giunta, 1911-2001, Canadian Paysage Laurentides Oil on board 10 x 12 in (picture) Signed lower right ; titled, signed and inscribed on the artist label verso framed For our ...

Georges R. Quinio (1927 - 1999) After studying at Ecole Nationale des Beaux-Arts in Paris, Georges R. Quinio lived in his native Island of Corsica & devoted his time to the painting...

Thomas Hilton Garside, 1906 – 1987, Canadian Mixed media on papaer 5 x 7 in (sight) Signed lower right framed For our US customers: 1) The artwork is shipped from Montreal, Canada;...

Thomas Hilton Garside, 1906 – 1987, Canadian Oil on canvas 14 x 18 in 30,5 x 40,6 cm Signed lower right framed For our US customers: 1) The artwork is shipped from Montreal, Canada;...

Delightful estate aerial rendering by society artist, Stuart Hinrichs of Greenwich, CT Signed "Stuart" & dated July 7, '84 Art Sz: 13 1/2"H x 17 1/2"W Frame Sz 15"H x 19"W

A field of dead almond trees lie before a colorful french village waiting for the storm to blow in. A 20th-century French realist and impressionist painter, especially known for mar...

A Fiery Hell is depicted as a volcano that spews flames and lava dust into the air. According to the Peter and Harrison Ellenshaw Family Archive, this work was shown to Stanly Kubrick for a Paradise Lost, movie concept. Peter had created matte paintings for Kubrick's Spartacus in 1960 and they continued their professional friendship for years to come. Peter did some collaboration with TRON in 1982. Unfortunately, the movie concept for John Miltons, Paradise Lost, was not brought into production. An erupting volcano is also an powerful metaphor for many human conditions. Ellenshaw (1913–2007) was a highly regarded matte painter and special-effects creator whose filmography includes Old Yeller (1957), Swiss Family Robinson...

This original watercolor from Bogomir Bogdanovic is is a perfect representation of his paintings that he is most known for of New York. "Silhouette of Metro Plains" was painted in 19...

"The oak grove". Oil on panel in Romantic style by Sheila Querre Dimension framed cm: 78 H x 97 W x 5 D Dimension frame inches: 38,18 H x 30,70 H x 1,96 D D...

Dorothy Knowles, Canadian, b. 1927 Watercolour, 1982 22 1/2 x 30 in signed lower right PROVENANCE: Property from the Collection of Theo Waddington, London, UK framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please note that the Canadian artwork is duty free under the current USMCA (NAFTA) agreement; 3) We can ship via USPS which should be zero import and clearance fees for the receiver; Dorothy Knowles Biography (1927 - 2023) RCA Dorothy Elsie Knowles was born on April 7, 1927 in Unity, Saskatchewan. She grew up on a farm overlooking a Prairie valley and initially had no plans to become a painter, studying biology at the University of Saskatchewan in Saskatoon between 1944 and 1948. At the time of her graduation, a friend persuaded her to enroll in a six-week summer course given by the University of Saskatchewan at Emma Lake. The course was led by Reta Cowley from Saskatoon and James Frederick Finley from the Ontario College of Art and under their guidance young Dorothy found a proclivity for art. Upon her return to Saskatoon she continued to study painting under Eli Bornstein...

An 1980's gorgeous oil on canvas painting of a home porch. The painting depicting a view of an elegant country home deck by the lack. This beautiful...

This original oil painting from Bogomir Bogdanovic is is a perfect representation of his paintings that he is most known for. of New York. The piece was painted in 1989 and is entitl...

ATT Ad from the mid 1980's

Soviet/Russian painter. “Landscape with haystacks” 1984. Oil on artist’s board. Signed and dated on lower right. 13” H x 19’ W, overall size is 20” H x 26” W. Condition is exc...

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Includes a Certificate of Authenticity

Domenick Capobianco (American, b. 1928), Abstract Seascape Composition, Mixed Media on Paper, apparently unsigned, unframed. 44.25" H x 44.5" W. Provenance: From the collection of th...

Dorothy Knowles, Canadian, b. 1927 Watercolour, 1982 30 x 22 1/2 in 76.2 x 56.2cm signed and dated ‘D.Knowles.82.’ (lower right) PROVENANCE Property from the Collection of Theo Waddington, London, UK framed For our US customers: 1) The artwork is shipped from Montreal, Canada; 2) Please note that the Canadian artwork is duty free under the current USMCA (NAFTA) agreement; 3) We can ship via USPS which should be zero import and clearance fees for the receiver; Dorothy Knowles Biography (1927 - 2023) RCA Dorothy Elsie Knowles was born on April 7, 1927 in Unity, Saskatchewan. She grew up on a farm overlooking a Prairie valley and initially had no plans to become a painter, studying biology at the University of Saskatchewan in Saskatoon between 1944 and 1948. At the time of her graduation, a friend persuaded her to enroll in a six-week summer course given by the University of Saskatchewan at Emma Lake. The course was led by Reta Cowley from Saskatoon and James Frederick Finley from the Ontario College of Art and under their guidance young Dorothy found a proclivity for art. Upon her return to Saskatoon she continued to study painting under Eli Bornstein...

This original oil painting from Bogomir Bogdanovic is a perfect representation of his paintings that he is most known for of Central Park New York in the snow. In this original oil painting you can see a couple of people with their families and pets walking around in the snow in central park by Shakespeare Theatre in the largest city of New York. The piece was painted in 1986 and is entitled "Central Park - Shakespeare Theater" and is available for $14,500. Bogdanovic’s work consists of varied subjects, primarily of breathtaking landscapes dotted with people from New York City, Warwick, and neighboring Sussex County...

Seagulls (Birds in Flight), 1982 By. Jim Palmer (American, b. 1941) Signed and Dated Lower Right Unframed: 32" x 36" Framed: 37" x 42.5" Born in 1941 in Columbia, South Carolina, Jim Palmer attended the University of South Carolina in 1960 before going on to study at the Atlanta School of Art in 1964. In 1966 he and his wife moved to Hilton Head Island, the second artist to do so during the Island's early years. Since living here, he designed the cover of the Chamber of Commerce' Islander Magazine, has been a contributing artist to the Island Events Magazine, and has painted many Low Country scenes that grace homes and businesses throughout the country. Palmer was the illustrator for two books written by local authors: A Corner of South Carolina and Moonshadows. His work has been included in exhibits at the Hunter Museum in Chattanooga, TN; Mint Museum, Charlotte, NC; Southeastern Artists Exhibition, Atlanta, GA; Greenville County Art Museum, Greenville, SC; Callaway Gardens, Pine Mountain, GA; and Bay Hills Club, Orlando, FL. His paintings are part of the private collections of C&S National Banks in Columbia and Hilton Head Island; Banker's Trust Tower, Columbia, SC; Palmetto State Bank, Bluffton, SC, among others. Several paintings are also included in the collections of former Presidents Jimmy Carter and Dwight Eisenhower, former South Carolina Governor Robert McNair and singer John Denver.

David Hayes (1931 - 2013) Study for Landscape with Marsh, 1986 Gouache on paper 22 x 30 in

Oil Painting of Great Gable & the Buttermere Fells in English Lake District by 20th Century Modern British Landscape Artist, Arthur Terry Blamires (b. 1930) Art measures 30 x 20 inc...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

Zygmund Jankowski (1925–2009) painted traditional subjects with exuberant irreverence for traditional rules of color, composition, and perspective. He disparaged imitation and deligh...

William Tillyer Untitled (The Westwood Paintings) 1989 Acrylic on canvas 61 x 71.1 cms (24 x 28 ins) WT9778

Artist: Duncan Hannah, American (1952 - ) Title: Telepathy Year: 1983 Medium: Oil on Canvas, signed and dated Size: 44 in. x 58 in. (111.76 cm x 147.32 cm)

Artist: Duncan Hannah, American (1952 - ) Title: Private World (Lisa) Year: 1986 Medium: Oil on Canvas, signed l.r. Size: 40 x 54 inches

Artist: Jon Carsman, American (1944 - 1987) Title: Giverny Gardens Year: 1984 Medium: Acrylic on Canvas, signed verso Size: 72 in. x 96 in. (182.88 cm x 243.84 cm)

Oil on two joined canvases Signed and dated, l.c. This artwork is offered by ClampArt, located in New York City. Mark Beard, born in 1956 in Salt Lake City, now lives in New York C...

Artist: Laurent Marcel Salinas, French (1913 - 2010) Title: Coin De Ferme Saint Cyprien, 602 Medium: Oil on Canvas, signed and titled verso Size: 26.5 x 22 inches

Artist: Laurent Marcel Salinas, French (1913 - 2010) Title: Les Lecques Medium: Oil on Canvas, signed Size: 19.25 x 25 inches Frame Size: 20.5 x 26.5 inches

Artist: Laurent Marcel Salinas, French (1913 - 2010) Title: Coin de Plage a Keremma Medium: Oil on Canvas, signed Size: 26.75 x 19 inches